The cast of characters of "WALL • E" includes a variety of robots, including some who speak or communicate in their own language. For the film's producer, Jim Morris, and director / co-writer Andrew Stanton was only one clear way to create special voices for the robots and designing the sounds of the film. And that way was counting on the Oscar-winning sound designer Ben Burtt, the talent that created the legendary voice of R2-D2, the sound of the whip of Indiana Jones, the hiss of "Alien" and many other sounds familiar to viewers worldwide. "Ben is unique," says Stanton .. "He is a master of sound design, and has made a name in this industry with all children who have seen 'Star Wars' (The Star Wars), and all the films that followed. "When I realized I would have the opportunity to 'WALL • E', I knew the film would need sound to tell their story," Stanton. "I wanted our robots to communicate over the R2-D2 level than that of C-3PO - with its own machine language. I thought his speech had to be smarter, more interesting. When Jim told me he had worked with Ben at ILM for several years and suggested I invitásemos to participate in the film, I seemed like a great idea. I showed the film to Ben and told him he needed to work on the movie deal. Luckily he said yes, because we soon realized that we would not have done it without him. It is the best. " Jim Morris added: "Ben's ability to create special voices worldly voices with emotion and sentiment made him the perfect choice for WALL • E, and we are delighted that you have worked on this film. Some of the voices of the characters are synthetic, some are made from a conglomeration of various types of sounds that Ben has found or created, and others are based on manipulated human voices. Ben also was instrumental in creating the rest of the sounds of the movie. "
Burtt explains: "My work in 'Star Wars' (The Star Wars) gave me great experience in regard to robots and alien voices but 'WALL • E' needed more sounds for the robot characters than any movie in which he had worked. The challenge of this film was to create voices that the public believes they are not human. But still, they can feel love and identify with them the same way they would with humans. The voices could sound just like a machine with no personality, or as an actor imitating a robot behind a curtain. We had to create a balance in the sound, as if it were generated by a machine but still, it was provided with warmth and intelligence, as a human being. I call it soul. "
A Burtt was called to work on "WALL • E" only months after completing work on the latest installment of "Star Wars" (The Wars). He had told his wife that it would not work with robots, but the temptation to work for Pixar film robots completely different was too strong.
"Fortunately, it was a new and exciting idea, and the challenge presented to create the sound of pelícla seemed irresistible," says Burtt. "The sound and the voices of the robots played an unusual role, and I could not help but feel inspired. Of course, I accepted the offer to work with Jim and Andrew, and make sound work for film. "
With reference to the voice of the character of WALL • E, Burtt said: "It came in my little studio recording our sound department. I took the original tapes and got into the computer, which analyzes the sound and is divided into different parts. It's as if tens light through a prism to split it into a spectrum of colors. You can do the same with an audio file. Once the sound has been divided in its components, you can start to rebuild again. But this time, it can control the amount of each component. Quality can be injected into the sound machine, and do things that human vocal cords could never do. You can lengthen and shorten a certain vowel. You can raise or lower the tone somewhat. You can bring a maximum of two sounds. To reconstruct the sound I have developed a program that I could keep most of the original components as I wanted, but I added some synthetic form.
"If the sound was clay," says Burtt, "may shrink and lengthen. And working with the voice of WALL • E, I discovered a way to go. Andrew really enjoyed, and enabled us to further develop their personality. "
character of WALL • E, Burtt was also responsible for the voices of MO, Auto and EVE, whose tones created by manipulating the voice of Elissa Knight Pixar employee.
For the rest of the movie sounds, Burtt created a library of 2,400 files - the largest number of files you have accumulated ever for a movie. "WALL • E" is the first animated film Burtt. "Animation is very dense and the sounds are very fast," he notes. "When I started making the sounds of WALL • E, I realized they were too slow, so I had to speed up everything for it to be faster."
Burtt many resources needed to create the sounds of the film. To make the sound of the movement of a cockroach, got a pair of handcuffs from the police and recorded the sound they made when separated and united. To get the sound EVE flight, met a person who had built a drone of 3 meters and recorded the sound as it passed just above him. Created the effect of wind noise perfect for a wind storm on Earth running down a hallway with carpets and a heavy canvas bag. And a crank starter motor of a biplane in the 30's was the one who gave the sound of movement WALL • E.
"The best part of the work of a sound designer is when you alone in your room assembly and accounts with a complete material, "says Burtt. "When you insert the sound for the first time, you feel a great emotion. You see it first and is a great time. Walking through the halls of Pixar inspired me a lot, because many talented people doing amazing things. Then back to my studio and thought, 'My sound will be as good as what I'm seeing? "
Source: Walt Disney Studios
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